In WWII, to stage his cover as a wealthy businessman in Hong Kong for a risky covert operation orchestrated by the Chinese government, my grandfather married my grandmother. Decades later, during the violent reforms of 1960s China, my grandfather’s undercover work for the Communist army, in leading a feigned life overseas under capitalism, would resurface to torment his wife and children. I return to these traumas of the past, to the expediently shape-shifting spaces in historic sets and scenes. Abstract layered compositions arranged in three vignettes, The fallacy of misplaced concreteness (35:27) is an intimate look at how we see, and how we remember. Drifting in stories of my mother and grandmother, in memories of my childhood, in sites simulating sights, I travel from the Cultural Revolution set in Zhenbeibao Western Film Studios, to former Imperial German Qingdao where my grandfather grew up. The film emerges as an inward-coiling spiral, penetrating into the depths of an entangled unconscious between three generations of women.